6
" . . . [E]very single writer I met likened writing for television to one thing--laying track for an incoming speeding train. The story is the track and you gotta keep laying it down because of the train. That train is production. You keep writing, you keep laying track down, no matter what, because the train of production is coming toward you--no matter what. Every eight days, the crew needs to being to prepare a new episode--find locations, build sets, design costumes, find props, plan shots. And every eight days after that, the crew needs to film a new episode. Every eight days. Eight days to prep. Eight days to shoot. Eight days, eight days, eight days, eight days. Which means every eight days, that crew needs a brand-new script. And my job is to damn well provide them with one. Every. Eight. Days. That train of production is a'coming. Every eight days that crew on that soundstage better have something to shoot. Because the worst thing you can do is halt or derail production and cost the studio hundreds of thousands of dollars while everyone waits. That is how you go from being a TV writer to being a failed TV writer. "
― Shonda Rhimes , Year of Yes
7
" She unwinds her scarf, taking so long about it that I wonder if she expects me to respond. “You were following the rules,” I offer after a minute. It makes her words no more pleasant. Resentment. Was that how she’d looked at me? Then how am I supposed to trust how she looks at me now?
My words elicit a thankful smile. “Mostly, though, I knew you could do the job. Did you ever know other autistic people?”
I shake my head. I’d heard rumors about one teacher, but never asked him. Mom had encouraged me to find a local support group, but I’d never seen the appeal—or the need. It wouldn’t change anything. I had friends, anyway. Peopleonline, my fellow volunteers at the Way Station. I even got along with Iris’s friends.
“Well, I did, and I feel like a fool for never recognizing your autism. I had autistic colleagues at the university. They were accommodated, and they thrived. One researcher came in earlier than everyone else and would stay the longest. I saw the same strengths in you once I knew to look for them. You’re punctual, you’re precise, you’re trustworthy. When you don’t know something, you either figure it out or you ask, and either way, you get it right. I wanted to give you the same chance my colleagues had, and that other Nassau passengers got. One of the doctors is autistic—did you know?” Els silences an incoming call. “Does that answer your question? "
― Corinne Duyvis
12
" As information processing machines, our ability to process data about the external world begins at the level of sensory perception. Although most of us are rarely aware of it, our sensory receptors are designed to detect information at the energy level. Because everything around us - the air we breathe, even the materials we use to build with, are composed of spinning and vibrating atomic particles, you and I are literally swimming in a turbulent sea of electromagnetic fields. We are part of it. We are enveloped within in, and through our sensory apparatus we experience what is.
Each of our sensory systems is made up of a complex cascade of neurons that process the incoming neural code from the level of the receptor to specific areas within the brain. Each group of neurons along the cascade alters or enhances the code, and passes it on to the next set of cells in the system, which further defines and refines the message. By the time the code reaches the outermost portion of our brain, the higher levels of the cerebral cortex, we become conscious of the stimulation. However, if any of the cells along the pathway fail in their ability to function normally, then the final perception is skewed away from normal reality. "
― Jill Bolte Taylor , My Stroke of Insight: A Brain Scientist's Personal Journey
14
" Now the evening's at its noon, its meridian. The outgoing tide has simmered down, and there's a lull-like the calm in the eye of a hurricane - before the reverse tide starts to set in.The last acts of the three-act plays are now on, and the after-theater eating places are beginning to fill up with early comers; Danny's and Lindy's - yes, and Horn & Hardart too. Everybody has got where they wanted to go - and that was out somewhere. Now everybody will want to get back where they came from - and that's home somewhere. Or as the coffee-grinder radio, always on the beam, put it at about this point: 'New York, New York, it's a helluva town, The Bronx is up, the Battery's down, And the people ride around in a hole in the ground.Now the incoming tide rolls in; the hours abruptly switch back to single digits again, and it's a little like the time you put your watch back on entering a different time zone. Now the buses knock off and the subway expresses turn into locals and the locals space themselves far apart; and as Johnny Carson's face hits millions of screens all at one and the same time, the incoming tide reaches its crest and pounds against the shore. There's a sudden splurge, a slew of taxis arriving at the hotel entrance one by one as regularly as though they were on a conveyor belt, emptying out and then going away again.Then this too dies down, and a deep still sets in. It's an around-the-clock town, but this is the stretch; from now until the garbage-grinding trucks come along and tear the dawn to shreds, it gets as quiet as it's ever going to get.This is the deep of the night, the dregs, the sediment at the bottom of the coffee cup. The blue hours; when guys' nerves get tauter and women's fears get greater. Now guys and girls make love, or kill each other or sometimes both. And as the windows on the 'Late Show' title silhouette light up one by one, the real ones all around go dark. And from now on the silence is broken only by the occasional forlorn hoot of a bogged-down drunk or the gutted-cat squeal of a too sharply swerved axle coming around a turn. Or as Billy Daniels sang it in Golden Boy: While the city sleeps, And the streets are clear, There's a life that's happening here.(" New York Blues" ) "
15
" Let us return for a moment to Lady Lovelace’s objection, which stated that the machine can only do what we tell it to do. One could say that a man can “inject” an idea into the machine, and that it will respond to a certain extent and then drop into quiescence, like a piano string struck by a hammer. Another simile would be an atomic pile of less than critical size: an injected idea is to correspond to a neutron entering the pile from without. Each such neutron will cause a certain disturbance which eventually dies away. If, however, the size of the pile is sufficiently increased, the disturbance caused by such an incoming neutron will very likely go on and on increasing until the whole pile is destroyed. Is there
a corresponding phenomenon for minds, and is there one for machines? There does seem to be one for the human mind. The majority of them seem to be “sub-critical,” i.e. to correspond in this analogy to piles
of sub-critical size. An idea presented to such a mind will on average give rise to less than one idea in reply. A smallish proportion are supercritical. An idea presented to such a mind may give rise to a whole “theory” consisting of secondary, tertiary and more remote ideas. Animals’ minds seem to be very definitely sub-critical. Adhering to this analogy we ask, “Can a machine be made to be super-critical? "
― Alan Turing , Computing machinery and intelligence
16
" Let us return for a moment to Lady Lovelace’s objection, which stated that the machine can only do what we tell it to do. One could say that a man can " inject" an idea into the machine, and that it will respond to a certain extent and then drop into quiescence, like a piano string struck by a hammer. Another simile would be an atomic pile of less than critical size: an injected idea is to correspond to a neutron entering the pile from without. Each such neutron will cause a certain disturbance which eventually dies away. If, however, the size of the pile is sufficiently increased, the disturbance caused by such an incoming neutron will very likely go on and on increasing until the whole pile is destroyed. Is there a corresponding phenomenon for minds, and is there one for machines? There does seem to be one for the human mind. The majority of them seem to be " sub critical," i.e. to correspond in this analogy to piles of sub-critical size. An idea presented to such a mind will on average give rise to less than one idea in reply. A smallish proportion are supercritical. An idea presented to such a mind may give rise to a whole " theory" consisting of secondary, tertiary and more remote ideas. Animals’ minds seem to be very definitely sub-critical. Adhering to this analogy we ask, " Can a machine be made to be super-critical? "
17
" [The waves] move across a faint horizon, the rush of love and the surge of grief, the respite of peace and then fear again, the heart that beats and then lies still, the rise and fall and rise and fall of all of it, the incoming and the outgoing, the infinite procession of life. And the ocean wraps the earth, a reminder. The mysteries come forward in waves. "
― Susan Casey , The Wave: In Pursuit of the Rogues, Freaks, and Giants of the Ocean
18
" The sea can do craziness, it can do smooth, it can lie down like silk breathing or toss havoc shoreward; it can give gifts or withhold all; it can rise, ebb, froth like an incoming frenzy of fountains, or it can sweet-talk entirely. As I can too, and so, no doubt, can you, and you. "
― Mary Oliver , A Thousand Mornings: Poems
20
" When the Bolide Fragmentation Rate shot up through a certain level on Day 701, marking the formal beginning of the White Sky, a number of cultural organizations launched programs that they had been planning since around the time of the Crater Lake announcement. Many of these were broadcast on shortwave radio, and so Ivy had her pick of programs from Notre Dame, Westminster Abbey, St. Patrick’s Cathedral, the Imperial Palace in Tokyo, Tiananmen Square, the Potala Palace, the Great Pyramids, the Wailing Wall.
After sampling all of them she locked her radio dial on Notre Dame, where they were holding the Vigil for the End of the World and would continue doing so until the cathedral fell down in ruins upon the performers’ heads and extinguished all life in the remains of the building. She couldn’t watch it, since video bandwidth was scarce, but she could imagine it well: the Orchestre Philharmonique de Radio France, its ranks swollen by the most prestigious musicians of the Francophone world, all dressed in white tie and tails, ball gowns and tiaras, performing in shifts around the clock, playing a few secular classics but emphasizing the sacred repertoire: masses and requiems. The music was marred by the occasional thud, which she took to be the sonic booms of incoming bolides. In most cases the musicians played right through. Sometimes a singer would skip a beat. An especially big boom produced screams and howls of dismay from the audience, blended with the clank and clatter of shattered stained glass raining to the cathedral’s stone floor. But for the most part the music played sweetly, until it didn’t. Then there was nothing. "
― Neal Stephenson , Seveneves